crocodile 8,000 Posted October 30, 2014 Share Posted October 30, 2014 By that logic, every single composer in Hollywood sounds like John Debney.Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 30, 2014 Share Posted October 30, 2014 Yes..and? Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted October 30, 2014 Share Posted October 30, 2014 Blume made a point there's nothing distinctive in Silvestri's writing, that he can't tell him apart from Debney.Now, I'm not saying that Alan is the best thing that ever happened to film music. But to say he doesn't have a unique sound is a bit... much. His brass and percussion writing are way too distinctive.Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 30, 2014 Share Posted October 30, 2014 I guess he talked specifically about this cue from CC that is orchestral frenzy without much going for it than typical Hollywood orchestrator frenzy. At this point i think all Silvestri ever wanted or could say musically seems to be said. Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted October 30, 2014 Share Posted October 30, 2014 He doesn't seem to be interested in exploring new avenues. But that's beside the point - it's still above the average.Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 30, 2014 Share Posted October 30, 2014 That's like saying canned meat is above average. Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted October 30, 2014 Share Posted October 30, 2014 We're going nowhere... again!Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 30, 2014 Share Posted October 30, 2014 Just accept that Silvestri 2014 is a dead end. Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted October 30, 2014 Share Posted October 30, 2014 I like zombie genre, especially at this time of the year. Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 30, 2014 Share Posted October 30, 2014 Your ship has come in: Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,515 Posted October 30, 2014 Share Posted October 30, 2014 (adopts squeaky-high voice)#I'm going nowhere.sombody help me, yeah# Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted October 30, 2014 Share Posted October 30, 2014 I will take The 13th Warrior any day over The Mummy, and I think The Mummy is pretty damn good. Link to comment Share on other sites More sharing options...
KK 3,307 Posted October 30, 2014 Share Posted October 30, 2014 I can't stand that score (the 13th Warrior, that is).Why not?Too bland for my taste. Loud and "epic", but pretty boring, like a lot of Goldsmith's autopilot works in his later years. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted October 31, 2014 Share Posted October 31, 2014 It IS very easy to dismiss these latter scores as rather obvious and simple due to much toned-down orchestration but i feel that's more a young-and-hungry-for-adventure-person's stance that needs to listen to tons of Goldenthal et al.But I have. Just 'cos I'm not a regular in the Last Score You Listened To, that doesn't mean I don't know my PET CEMETERY, MICHAEL COLLINS, TITUS, INTERVIEW WITH A VAMPIRE, FINAL FANTASY, DRUGSTORE COWBOY, DEMOLITION MAN or S.W.A.T., to name a few...How can one not like this cue? KarolIt's not too bad, it actually gets compelling at 1:16 (once those snarling French horns are gone, that seem to find their way into THE EDGE, THE MUMMY, STAR TREK: NEMESIS et al). It's just all been done before in earlier Goldsmith scores, and with much more panache and colour (whether orchestral or electronic). There's also none of that Goldsmith dissonance I love.I always thought of this as PORhttps://www.youtube.com/watch?v=GCMjhUhTl5MThanks for that. Needed to clean my ears after 13TH WARRIOR. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 31, 2014 Share Posted October 31, 2014 It IS very easy to dismiss these latter scores as rather obvious and simple due to much toned-down orchestration but i feel that's more a young-and-hungry-for-adventure-person's stance that needs to listen to tons of Goldenthal et al.But I have. Just 'cos I'm not a regular in the Last Score You Listened To, that doesn't mean I don't know my PET CEMETERY, MICHAEL COLLINS, TITUS, INTERVIEW WITH A VAMPIRE, FINAL FANTASY, DRUGSTORE COWBOY, DEMOLITION MAN or S.W.A.T., to name a few...I am sure you have. What i am saying is that a lot of dismissive comments about these leaner JG works are from folks who have not yet arrived at a level where you can perfectly enjoy FIRST KNIGHT for what it is instead of dissing it for all that it isn't. It's what i call the 'complex' phase where you look for challenging stuff all the time. Link to comment Share on other sites More sharing options...
KK 3,307 Posted October 31, 2014 Share Posted October 31, 2014 That's a valid point pub. A few years ago, I used to really enjoy First Knight (13th Warrior still rubbed me the wrong way though). Now I find the score a chore to sit through, likely because I'm in that phase where I'm usually craving for the unconventional. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 31, 2014 Share Posted October 31, 2014 When i initially received the cd in 1995 i wrote a very lukewarm review on it. As i did on 13TH WARRIOR, as i partly did on GHOST AND THE DARKNESS, all pretty bold later entries in Goldsmith's oeuvre. What did it miss? Any sense of 'achievement' (GHOST easily was the most ambitious due to the fake african choir stuff) or lightfooted inventiveness that even 80's Goldsmith like LIONHEART has in spades. It seemed to be entirely content in serving a measured, polished and easy-to-digest (often ponderous) Hollywood epic score with long shopworn standby's of film music, say Holst's MARS uneasily hovering in the background and a main theme right out of an 'inspiring' US army commercial.It seemed, in a word, unworthy of Goldsmith's talent (the album, that is). It was only in the mid-2000's when i reviewed my collection with many scores having come in and flown out since then that i really came to realize that for all these perceived faults these scores stayed unique among dozens of pretenders and brought their point across in a devilishly single-minded way that only could have sprung from a mind that had seen it all and now could comfortably serve Hollywood's need for simpler things without losing a beat regarding its impact in the movie or even the album (the cues are constructed pretty much perfect musically, even if they seem simple by design).So in a nutshell, let the Giacchinos, Powells, Silvestris, or even the JNHs and Elfmans step forward writing a 80-minute score for FIRST KNIGHT in three and a half weeks and let's count the beans afterwards... Sharkissimo 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted October 31, 2014 Share Posted October 31, 2014 I can't stand that score (the 13th Warrior, that is).Why not? Too bland for my taste. Loud and "epic", but pretty boring, like a lot of Goldsmith's autopilot works in his later years.I think you are a dickhead for saying this! Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted October 31, 2014 Share Posted October 31, 2014 When i initially received the cd in 1995 i wrote a very lukewarm review on it. As i did on 13TH WARRIOR, as i partly did on GHOST AND THE DARKNESS, all pretty bold later entries in Goldsmith's oeuvre. What did it miss? Any sense of 'achievement' (GHOST easily was the most ambitious due to the fake african choir stuff) or lightfooted inventiveness that even 80's Goldsmith like LIONHEART has in spades. It seemed to be entirely content in serving a measured, polished and easy-to-digest (often ponderous) Hollywood epic score with long shopworn standby's of film music, say Holst's MARS uneasily hovering in the background and a main theme right out of an 'inspiring' US army commercial.It seemed, in a word, unworthy of Goldsmith's talent (the album, that is). It was only in the mid-2000's when i reviewed my collection with many scores having come in and flown out since then that i really came to realize that for all these perceived faults these scores stayed unique among dozens of pretenders and brought their point across in a devilishly single-minded way that only could have sprung from a mind that had seen it all and now could comfortably serve Hollywood's need for simpler things without losing a beat regarding its impact in the movie or even the album (the cues are constructed pretty much perfect musically, even if they seem simple by design).So in a nutshell, let the Giacchinos, Powells, Silvestris, or even the JNHs and Elfmans step forward writing a 80-minute score for FIRST KNIGHT in three and a half weeks and let's count the beans afterwards...Agreed. Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted October 31, 2014 Share Posted October 31, 2014 Fanboys! Karol Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted October 31, 2014 Share Posted October 31, 2014 Maybe I'm a fanboy. But I've grown to the point where I'm realizing John and Jerry's "auto-pilot" scores are alone worth marveling at. It's like watching Godzilla pick its nose. It's a completely trivial exercise, but it's still FUCKING GODZILLA PICKING ITS NOSE. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted October 31, 2014 Share Posted October 31, 2014 I find Jerry's autopilot work more satisfying then JW's Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,515 Posted October 31, 2014 Share Posted October 31, 2014 What would you list as JW's autopilot work? Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted October 31, 2014 Share Posted October 31, 2014 Minority Report, WOTW, AOTC, Always, COS, KOCS etc... Link to comment Share on other sites More sharing options...
filmmusic 1,826 Posted October 31, 2014 Share Posted October 31, 2014 Minority Report, WOTW, AOTC, Always, COS, KOCS etc...I wouldn't agree on ALWAYS...Something like this sounds hardly an autopilot to me: Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 31, 2014 Share Posted October 31, 2014 While the whole score is rather underwhelming, this cue and AMONG THE CLOUDS are some of my favourite quieter cues by Williams. Sharkissimo 1 Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted October 31, 2014 Share Posted October 31, 2014 When i initially received the cd in 1995 i wrote a very lukewarm review on it. As i did on 13TH WARRIOR, as i partly did on GHOST AND THE DARKNESS, all pretty bold later entries in Goldsmith's oeuvre. What did it miss? Any sense of 'achievement' (GHOST easily was the most ambitious due to the fake african choir stuff) or lightfooted inventiveness that even 80's Goldsmith like LIONHEART has in spades. It seemed to be entirely content in serving a measured, polished and easy-to-digest (often ponderous) Hollywood epic score with long shopworn standby's of film music, say Holst's MARS uneasily hovering in the background and a main theme right out of an 'inspiring' US army commercial.It seemed, in a word, unworthy of Goldsmith's talent (the album, that is). It was only in the mid-2000's when i reviewed my collection with many scores having come in and flown out since then that i really came to realize that for all these perceived faults these scores stayed unique among dozens of pretenders and brought their point across in a devilishly single-minded way that only could have sprung from a mind that had seen it all and now could comfortably serve Hollywood's need for simpler things without losing a beat regarding its impact in the movie or even the album (the cues are constructed pretty much perfect musically, even if they seem simple by design).Nice post.I think the simple answer is the one I'm dreading: I need to listen to more crap.Minority Report, WOTW, AOTC, Always, COS, KOCS etc...MINORITY REPORT is definitely NOT autopilot. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,515 Posted October 31, 2014 Share Posted October 31, 2014 Agreed, Sharky: "Minority Report" is one of the 2 best works by JW, this century. "Everybody Runs" is just fantastic! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 1, 2014 Share Posted November 1, 2014 I think the simple answer is the one I'm dreading: I need to listen to more crap.And less North. As for mediocre Williams scores, i'd say to the examples posted above that COS is a score i might even prefer to the first one. It weaves a certain spell with its atmospheric and brooding tracks and all the misterioso this chamber theme carries. Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted November 1, 2014 Share Posted November 1, 2014 I like COS. It introduces a handful of solid new themes and the rehashed material actually improves upon the previous passages, most notable the finale cue, "Reunion of Friends". Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted November 1, 2014 Share Posted November 1, 2014 Sigh.... Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted November 1, 2014 Share Posted November 1, 2014 I think the simple answer is the one I'm dreading: I need to listen to more crap.And less North. Could you give me some pointers on what scores or composers to listen to? I'm hopelessly out of the loop. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 1, 2014 Share Posted November 1, 2014 Fo these occasions i always recommend Randy Edelman and Trevor Rabin. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted November 1, 2014 Share Posted November 1, 2014 Any really crap scores? I only really know of ARMAGEDDON and THE 6TH DAY, though I don't remember them. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 1, 2014 Share Posted November 1, 2014 Flyboys? For Edelman, too many to list. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted November 1, 2014 Share Posted November 1, 2014 Just give me 10, I might not even manage that. Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted November 1, 2014 Share Posted November 1, 2014 Flyboys and The Sixth Day are great! Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted November 1, 2014 Share Posted November 1, 2014 Koray loves them. That's all the validation I need. publicist 1 Link to comment Share on other sites More sharing options...
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